The This

A Prima Book of the Year'Think Bridget Jones if she were in The Bear' SUNDAY TIMES STYLE'Slyly satirical and richly comedic' EVENING STANDARD'Sharp, witty and funny ... the perfect beach read' INDEPENDENT'The Devil Wears Prada for devoted foodies' PLUM SYKES'A delicious debut' PEOPLEWhat if Andy Sachs found a job in a test kitchen ...When twenty-something Isabella Pasternack is fired from her job at a digital food magazine, she accepts a thankless job for the paycheck: ghostwrite the very past-due cookbook for a once-beloved thirty-something actress, Molly Babcock.Molly, trying to repair her reputation after a serious downward spiral, meets Isabella's earnest attempts to connect with inconsistency, indifference, and cruelty. But, for the first time in her life, Isabella is determined to dig in her heels, and figure out if there's anything Molly actually knows how to cook (or even likes to eat).Isabella's slice of contemporary New York is filled out by a cast including: Isabella's acerbic roommate and best friend Owen, her widowed mother whose cooking isn't only bad, it's dangerous, and of course a handsome chef love interest. Hilarious and hopeful, at its core, Food Person is about commitment to self-discovery, the beauty of community, and how unapologetically forging your own future can lead to everyone getting the ending they deserve. And of course, very delicious food.'Part romp, part satire and frequently mouthwatering' HOLLYWOOD REPORTER'A fun summer read' DAILY MAIL'A boisterous page-turner' WASHINGTON POST'Utterly delicious and satisfying to the end' MARY ROACH'Hilarious, harrowing, and heartwarming' J. RYAN STRADAL'A debut that's about as perfect as they come ... a riotous romp' GRANT GINDER'Charming, witty ... You'll want seconds!' STEVEN ROWLEY (lib)

For fans of Alison Espach's The Wedding People and Dolly Alderton's Good Material, a delectable comedy of manners about cooking, ambition, and friendship set in the food world as a young and socially awkward writer takes a job ghostwriting the cookbook for a famous (and famously chaotic) Hollywood starlet.Isabella Pasternack is a food person. She revels in the beauty of a perfectly cooked egg, she daydreams about her first meal at Chez Panisse, and every inch of her tiny apartment teems with cookbooks, from Prune to Cooking by Hand to Roast Chicken and Other Stories. What Isabella is not, unfortunately, is a gainfully employed person. In the wake of a disastrous live-streamed soufflé demonstration, Isabella is summarily fired from her job at a digital food magazine and must quickly find a way to keep herself in buckwheat and anchovy paste. When offered the opportunity to ghostwrite a cookbook for Molly Babcock, the once-beloved television actress now mired in scandal, Isabella warily accepts. Unfortunately, Molly quickly proves herself to be a nightmare collaborator: hungover, flaky, shallow, and—worst of all—indifferent to food. But between Molly’s bizarre late-night texts, goofy confessions, and impromptu road trips, Isabella reluctantly begins to see Molly’s charms. Can Isabella corral Molly out of the gossip rags and into the kitchen? Can she find the key to Molly’s heart and stomach? Or will Isabella’s devotion to her culinary idols and Molly’s monstrous ego send the entire cookbook—and both of their careers—up in flames?A mouthwatering, hilarious debut peppered with insider food world detail—the real writers behind celebrity chef cookbooks, the hot restaurants that run on the backs of their sous-chefs, the secret to perfect blinis à la Russe—Adam Roberts's Food Person is a literary soufflé—a deceptively light, deliciously rich, showstopping confection.

In Middlemarch, George Eliot draws a character passionately absorbed by abstruse allusion and obscure epigraphs. Casaubon's obsession is a cautionary tale, but Adam Roberts nonetheless sees in him an invitation to take Eliot's use of epigraphy and allusion seriously, and this book is an attempt to do just that.Roberts considers the epigraph as a mirror that refracts the meaning of a text, and that thus carries important resonances for the way Eliot's novels generate their meanings. In this lively and provoking study, he tracks down those allusions and quotations that have hitherto gone unidentified by scholars, examining their relationship to the text in which they sit to unfurl a broader argument about the novel - both this novel, and the novel form itself.Middlemarch: Epigraphs and Mirrors is both a study of George Eliot and a meditation on the textuality of fiction. It is essential reading for specialists and students of George Eliot, the nineteenth century novel, and intertextuality. It will also richly reward anyone who has ever taken pleasure in Middlemarch. (lib)

Adam Roberts' incomparable versions of Vergil's Ecologues are wise, witty, reeking, rollicking, knurled, greenly flourishing, leaking and shimmering with fusions and fissions. These zephyrs have the guts to zigzag when requisite to give it to us straight. "Nature is always the resource that has always already been worked. The landscape is not 'nature'; it is what cultivation has made of the natural resource. Nature is worked, and therefore Pastoral is always reworked-practically speaking, an eclogue is always a reworking of Hughes as a reworking of Wordsworth as a reworking of Vergil as a reworking of Theocritus (for example). Pastoral is a kind of blockchain, and in a more acute and formally self-reflexive sense than the standard 'intertextuality' argument might suggest, the generalist insistence that all literature is a kind of blockchain. Pastoral is much more specifically so." (lib)

In Middlemarch, George Eliot draws a character passionately absorbed by abstruse allusion and obscure epigraphs. Casaubon's obsession is a cautionary tale, but Adam Roberts nonetheless sees in him an invitation to take Eliot's use of epigraphy and allusion seriously, and this book is an attempt to do just that.Roberts considers the epigraph as a mirror that refracts the meaning of a text, and that thus carries important resonances for the way Eliot's novels generate their meanings. In this lively and provoking study, he tracks down those allusions and quotations that have hitherto gone unidentified by scholars, examining their relationship to the text in which they sit to unfurl a broader argument about the novel - both this novel, and the novel form itself.Middlemarch: Epigraphs and Mirrors is both a study of George Eliot and a meditation on the textuality of fiction. It is essential reading for specialists and students of George Eliot, the nineteenth century novel, and intertextuality. It will also richly reward anyone who has ever taken pleasure in Middlemarch. (lib)